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Abderrahim El Ouali the Moroccan social writer on political and environmental issues has published an article on IPS News stating that Morocco is still divided over marriage of minors. In the article, El Ouali states “The widespread practice of marrying minors continues to be one of the most incendiary legal and political issues in Morocco today, causing open confrontations between hard-line Islamists and moderates throughout the country. …30,000 minor girls are married every year – roughly 10 percent of the 300,000 marriages recorded… A campaign to gather one million signatures to forbid the marriage of minors is already in progress, sparked by the death of Amina Filali, a 15-year-old girl who committed suicide after being forced to marry her rapist. …Sheik Mohamed El Maghrawi, a well-known Moroccan Muslim scholar, published a Fatwa reiterating families’ right to marry off their daughters over the age of nine. His position provoked a major scandal but the scholar suffered no consequences. …El Maghrawi even expressed his attachment to his position, "based on the Quran and the words of the Prophet " according to him. However, opposition to this particular reading of Sharia’a law has become widespread. "All the laws that go against the dignity of women must be amended or even abolished ", said the president of the Chamber of Councilors in Moroccan parliament.” Inspired by ips news ow.ly/bk67E image source Twitter ow.ly/bk67f
Each time an inspiratior of mine celebrates birthday or dies I make them a portrait.
Simone de Beauvoir 9 January 1908 - 14 April 1986
Watercolor, embroidery on paper 29cm x 49cm
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ca. 1960s --- Allegra Caracciolo di Castagneto, Italian painter, modeling bundle hairstyle, holding her pug Charlie. --- Image by © Condé Nast Archive/Corbis
Visiting Assistant Professor of Drama Amanda Culp 09 performed with her friend and former classmate Sasha Velour 09, as a part of the The Big Reveal Live Show! in the Villard Room, Vassar College, April 23, 2023.
Photo Credit: Allyse Pulliam/Vassar College
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08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
Etant donnés
Well now, settle back in, because today we celebrate a mixed up story. Jean Genet. He didn’t just come out of nowhere, he came out of orphanages, reform schools, prison yards, and borrowed rooms where the wallpaper knew more secrets than the neighbors ever would. France tried to erase him early on, but Genet took that erasure and turned it into ink. He wrote like a man carving his name into a cell wall, slow and deliberate, knowing the guards would read it later. He had a way of crowning the uncrowned. Thieves, traitors, hustlers, sailors leaning on the rail at dawn, Genet looked at them and saw ceremony. Not the kind with flags and brass bands, but the kind that happens when two people recognize each other in the dark. His novels and plays don’t clean anyone up. They make dirt sacred, make shame glow. That’s why they still feel dangerous. Genet didn’t want justice; he wanted intensity. He wanted to go all the way to the edge and lean out just far enough to describe the view.
Somewhere along the road, Genet crossed paths with Alberto Giacometti, another man obsessed with the human figure, but for different reasons. Genet wrote The Studio of Alberto Giacometti like it was a love letter slipped under a locked door. He didn’t talk about sculpture the way art critics do, measuring angles and influences. He talked about Giacometti the way you talk about a man you’ve watched wrestle with ghosts. Those long, thin figures, Genet saw them as survivors, scraped down to their essence, like prisoners who’ve lost everything except the fact that they’re still standing. In Giacometti’s studio, Genet found a mirror of his own work. Both men were stripping life to the bone, refusing decoration, refusing lies. Genet said Giacometti wasn’t trying to make people beautiful he was trying to make them real. A body reduced until it could no longer pretend. That’s Genet all over. Whether he’s writing about a murderer, a lover, or a statue frozen in dust and light, he’s asking the same question: what’s left when you take everything else away?
So when you read Genet, or stand in front of a Giacometti figure, don’t expect comfort. Expect recognition. Expect that quiet moment when you realize the distance between saint and criminal, flesh and spirit, art and life, it’s thinner than you were told.
Now, we can’t pass through this tell without mentioning the poems, the ones that made polite society reach for the volume knob and twist it hard to the right.
Genet’s poems are soaked in sex the way a back alley is soaked in rain and cigarette smoke. Sex for him wasn’t decoration, and it sure wasn’t romance-card stuff. It was power, danger, worship, humiliation, glory, all tangled together like bodies in the dark where you can’t quite tell whose hand is whose. These poems don’t flirt. They stare you down. They say: this is what desire looks like when it refuses to behave. A lot of poets use sex as metaphor. Genet used metaphor as sex. Every touch, every look, every act becomes a ritual, almost religious. And that’s the real scandal, not the flesh, but the holiness. He wrote erotic poems the way medieval monks wrote about God, except Genet’s God wore boots, smelled of sweat, and might rob you blind before morning. In his lines, lust isn’t the opposite of purity; it is purity, stripped of excuses. You’ve got to remember the time he was writing in, too. To write openly as a gay man, to center desire that society had already labeled criminal, was itself an act of rebellion. Genet didn’t argue for acceptance. He didn’t ask for tolerance. He doubled down. He made outlaw desire ceremonial, almost royal. In these poems, the body becomes a flag raised in enemy territory.
There’s also tenderness there, even when it’s buried under provocation. A kind of aching devotion. Genet knew that sex exposes people faster than confession ever could. In those moments, masks fall off, hierarchies wobble, and the truth slips out. That’s what he was after, not shock for shock’s sake, but revelation. The moment when desire tells you who you really are, and maybe who you can’t escape being. So if those poems make you uncomfortable, that’s part of the program. Genet believed discomfort was honest. He’d probably say if you’re blushing, you’re paying attention.
—
Le Condamné à Mort
SUR MON COU sans armure et sans haine, mon cou
Que ma main plus légère et grave qu'une veuve
Effleure sous mon col, sans que ton cour s'émeuve, Laisse tes dents poser leur sourire de loup
O viens mon beau soleil, ô viens ma nuit d'Espagne, Arrive dans mes yeux qui seront morts demain.
Arrive, ouvre ma porte, apporte-moi ta main,
Mène-moi loin d'ici battre notre campagne.
Le ciel peut s'éveiller, les étoiles fleurir,
Ni les fleurs soupirer, et de prés l'herbe noire
Accueillir la rosée où le matin va boire,
Le clocher peut sonner : moi seul je vais mourir.
O viens mon ciel de rose, ô ma corbeille blonde!
Visite dans sa nuit ton condamné à mort.
Arrache-toi la chair, tue, escalade, mords,
Mais viens! Pose ta joue contre ma tête ronde.
Nous n'avions pas fini de nous parler d'amour.
Nous n'avions pas fini de fumer nos gitanes.
On peut se demander pourquoi les Cours condamnent
Un assassin si beau qu'il fair pâlir le jour.
Amour viens sur ma bouche! Amour ouvre tes portes!
Traverse les couloirs, descends, marche léger,
Vole dans l'escalier plus souple qu'un berger,
Plus soutenu par l'air qu'un vol de feuilles mortes.
O traverse les murs; s'il le faut marche au bord
Des toits, des océans; couvre-toi de lumière,
Use de la menace, use de la prière,
Mais viens, ô ma frégate, une heure avant ma mort.
//Jean Genet, 1942
—
LET YOUR TEETH sink their wolfish grin
Into my tender and defenseless neck whose back
My hand lighter and more solemn than a widow
Strokes under my collar without your heart being moved.
O come my handsome sun,
O come my Spanish night,
Come into my eyes that will be dead tomorrow.
Come, open my door, give me your hand,
Lead me far from here to wander our countryside.
Let the sky awaken, the stars blossom,
Let the flowers sigh, the bells sound,
And the black grass greet the dew that morning will drink
In the fields: as for me I'm going to die.
O come my rosy sky,
O come my blond basket!
Come visit in his night your man sentenced to death.
Rip your flesh, kill, climb, bite,
But come! Come put your cheek against my round head.
We hadn't finished speaking of love
We hadn't even finished smoking our cigarettes.
It's a wonder how the courts could sentence
A murderer so fair that he makes day grow pale.
Love, come to my mouth! Love, open your door!
Walk through the halls, come down, walk softly,
Fly down the stairs, more agile than a shepherd,
Sustained in the air better than a flight of dead leaves.
O go through the walls; if need be, walk along the edge
Of the roofs, of oceans; cover yourself with light,
Use threats, use prayer,
But come, O my frigate, one hour before my death.
//Jean Genet, 1942
ink, watercolor on paper
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1946, Tokyo, Japan --- A Japanese tattoo artist works on a gang member. --- Image by © Horace Bristol/CORBIS
este chamaco ha sido motivo de controversia por estados unidos , que si es racismo o quien sabe que.. como si nosotros les hubiesemos dicho algo por speedy gonzales...lo que si es que este niño es parte de la historieta mexicana , de lo mejor , ya que no es solo una historieta, muestra tan buenos valores humanos que en filipinas lo hicieron de lectura obligatoria en los niños ...hasta alla llego.
Ericka College girl 21
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Ella siempre seguía ahí a pesar de las estupideces que llegue a hacer, ella siempre fue una buena amiga, hasta la fecha creo que aun cuando nos hemos distanciado ella ...
Larbi Sadiki the Tunisian writer, political scientist and senior lecturer recalls his meeting with Egyptian Aboul Fotouh in 1992 while a fresh doctoral candidate at the Australian National University. The subject of Sadiki’s investigation at the time was notions of democracy in the discourse of four Islamist movements. The Egyptian Muslim Brotherhood (EMB), Tunisia's Nahda Party (NP), Jordan Islamic Action Front (IAF), and Sudan's Islamic Front led then by Hassan Al-Turabi. Sadiki states “Of all of the Islamists I met and engaged with in discussion over democracy during that period, coming soon after the Algerian debacle, Aboul Fotouh was amongst the limited number of interlocutors who felt at ease with that concept and the whole notion of good government. Then, the concept was not as yet popular with most Islamists. Not even the creative Rashid Ghannouchi, whom I sat with and interviewed many times for the purpose of my PhD and beyond, had at the time acquired a firm grip on the term. It was largely considered for being a specifically Western concept underpinned by Western values. At the time, 'democracy' in Islamist parlance, lacked the scruples and rigour of shura, Islam's consultative ethos, even though the likes of the innovative Hassan Al-Turabi in Sudan sought a move towards defining a shura-democracy synthesis.” Inspired by Aljazeera ow.ly/bzInt image source Studiahumana ow.ly/bzI9P
Visiting Assistant Professor of Drama Amanda Culp 09 interviewed her friend and classmate Sasha Velour 09, as a part of the The Big Reveal Live Show! in the Villard Room, Vassar College, April 23, 2023.
Photo Credit: Allyse Pulliam/Vassar College
Susan Adele Greenfield the 61 year old UK Baroness and neuroscientist who specializes in the physiology of the brain pertaining to Parkinson’s and Alzheimer’s disease, has expressed concerns that digital technology may be having negative impacts on early development of children’s brains. Greenfield suggests that social networking sites in particular may be having an impact that we will not become aware of for several decades, pointing to the fact the human brain can change and the environment is capable of doing so. Criticized in some academic circles for her lack of clinical research, Greenfield’s likens her critics to "like the people who denied that smoking caused cancer". Greenfield says she is not criticizing the technologies themselves, but rather how and the extent to which technologies are used.
A recent trip to Goa turned out to be a great break after a stressful October-November.
More images: Facebook page.
Shot this while driving by Maharashtran countryside near Lonavala, on a documentary trip. You can see some amazingly warm tones in the dry natural landscape there this time of year.
And also, worth mentioning, the dots in the sky are paragliders.
More images: Facebook page.
The new landing page for my Facebook page.
Do have a look and "like" if you appreciate the work. Your support is needed and will be really appreciated.
Another long exposure, shot at Bandstand at Bandra, just at sundown. I know sunset shots are super-overdone, but this is a first for me in long exposures + HDR. I am pretty pleased with the result, but I know there are so many areas to improve upon. Also, I finally feel like I can make use of the 2 ND8 filters I bought now that this year's heavy monsoons are over.
I forgot again to carry a flashlight to these dark rocks (which are slippery enough to break your back), but I managed to tread about alright.
Converted to HDR from 1 RAW file. Been shooting RAW only recently but, boy! do I now see what the hype was all about!
More images: Facebook page.
"*!\SERIOUSLY/!*EXCEED The "Courage" Of Your Restrictions. Your Own Inner Light Alone Is The Only KEY. Shine Through, Shine oN. Early Adopter, Late Bloomer--DON'T Let THIS NAO PASS Into Never SAW What It Came To MEAN...That You Completely SEE..."--Wyatt Matturs--(OneStrokeArtWater) MRI (MysteryRepeatsItself) The World's First Bowhammer Cymbalom CD "Radically Repurposed" For Surreal Form, Spectral Figure, & Haunted Face-Lift From 'Flared' Bodies Of Water (Sea, Lake, Creek, Puddle) StillorMoving
MAIN GALLERY CURATION IN PROGRESS (From Thousands)
Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
Sarah Sze the 42 year old American contemporary artist who uses ordinary objects to create sculptures and site-specific installations, states “I want people to stop and look at my art”. Sze’s latest installation profiled by Vanessa Thorpe for the Observer at the London Victoria Miro gallery, Thorpe states “…known for the involving intricacy of her sculptural work, but this dramatic piece, which now dominates a room … seems in danger of hypnotising even her. It is a theatrical construction that plays with light and water and yet is made entirely of household items. …The installation reminds me of student storage, with desk lamps, electric fans, paperclips, stepladders, books, chairs, and the added intimacy of folded clothes and a sleeping bag. Sze picks up bits and bobs everywhere she goes, she says; happy to exhibit the trace of her travels. … A talent for subtle showmanship has won her an international reputation and next year she will represent the US at the Venice Biennale. She is always thinking about the way the viewer sees her art and wants visitors to the London show to feel drawn to a "backstage area", to glimpse things they feel they were not intended to. … "I am aware people might dismiss my art, but I'm interested in getting them to stop and look; for no other reason than that is what I do.” Inspired by The Guardian ow.ly/c4XGD image source Columbia University ow.ly/c4Yqi